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Cartoons have been on the rise lately. Adventure Time, Steven Universe, Gravity Falls and Over the Garden Wall have gained substantial followings in the past year, and this audience doesn’t look like it will be going anywhere any time soon. Sailor Moon got a reboot in commemoration of its 20th anniversary, and Digimon got a direct sequel. Tumblr has also witnessed the return of older cartoons, and bloggers are revisiting shows like Scooby-Doo, Danny Phantom and Totally Spies!. The curious thing, however, is that majority of the participants in this Cartoon Revolution are older than the target audience.
I’d thought of it as a byproduct of the Tumblr-hype. People on my dashboard like to reblog pretty gif sets, cartoons get pretty gif sets, so therefore these people reblog these gif sets. There was nothing wrong with being an adult and still liking “kid shows” — they have short episodes, and their entertainment value is its own category. Sometimes, it’s a casual attachment that you’ve retained from childhood. Sometimes, it’s just really good, as is the case with me and Avatar: The Last Airbender. That’s all.
My weekend at ComiCon begged me to mull this over once more.
I’ve barely gotten off the GO Bus last Saturday when I spot a pair of cosplayers huddled on one side of the terminal, fixing each other’s masks. Having gotten sucked into the hype of the show and found myself a fan three trial episodes later, I recognize the characters from Miraculous Ladybug. The show is primarily broadcast in French which made the vast contingent of its fans at this year’s ComicCon a surprise. Even more surprising to me was that these people, clearly avid fans, didn’t seem to be much younger than me, if at all.
Then again, I have been religiously watching the show every week since getting into it. The encounter with the cosplayers brings into mind a text conversation I’ve had with a friend weeks back, having just gotten into Miraculous Ladybug and confused over what we actually like about it. “Kids shows are so much nicer than ‘adult’ shows,” my friend had said. “Instead of saying that there is no good in anyone, it focuses on proving that there is. If that makes sense. The messages are always so much nicer.”
We concluded that the appeal, then, must be purely escapist.
This doesn’t explain the emotional attachment I witnessed at ComiCon. My first panel of the day belonged to the cast of Sailor Moon, and not having been attached to the show as a child, I was in there as an objective spectator. Many of my peers, however, some dressed up and others just looking excited to be there, are not. There was a crowd — groups of excited girls, whispering about favourite characters and talking fondly about their memories of the show’s original run. It wasn’t something I understood, perhaps because I had none of these memories to speak of, but they hadn’t been the only group to do this.
I stopped by as many merchandise booths as I can, and for each one, I experience almost repeats of the conversation between those Sailor Moon fans. A girl in the poster booth would excitedly point out having watched Digimon as a child, and gush about how much it meant to her. A boy at the T-shirt booth waves his newly bought Adventure Time shirt, talking about how the show makes him feel a child again. Most significantly, clustered around the food court were a number of families — parents indulging their kid’s interests, or parents sharing their own childhood interests with their children.
It was an odd sight, seeing adults happily telling their kids about the first comics that they read and the first shows they’ve ever watched. Somehow, though, it made me feel guilty for having been so quick to make assumptions on people’s interest in what we categorize as children’s shows.
What I learned from ComiCon is this: we never really forget the things we love as children. These superheroes are our first role models, and these fantasy worlds are often our first encounters with the beauty of fiction. There will always be emotional attachment to something, even if we deny it, because at one point we’ve wanted to be Spiderman or, like those girls, have been inspired by the kind of female character Sailor Jupiter is. We’re shaped by our childhood experiences, and that includes the things we watch. It’s a well-grounded emotional attachment, and that’s why, when shows like Digimon and Sailor Moon get reboots and sequels, people are more than happy to gob it all up.
Is it an escapist appeal? Sure. I like Miraculous Ladybug because its superhero world was something I’ve become attached to. That said, we need to stop equating escapism with inferiority to ‘more serious’ shows. Just because she’s watching a show about Parisian superheroes and he’s rewatching the older Justice League episodes doesn’t mean they’re any less than loyal Tarantino fans. At the end of the day, a lot of us are into media and pop culture for the entertainment and distraction factors, and if that means watching singing crystal gems to forget about life’s woes for ten minutes, then so be it.
The most important thing, however, is that today’s shows are sporting what we never really got in cartoons of the previous generation: diversity in characters, prominent strong female characters, and, like my friend pointed out, more positive messages.
If the future of the next generation can be built on this foundation, if these kids can grow up with these characters as their role models, then by all means, I’ll be more than happy to see Cartoon Revolution flourish.
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By: Joe Jodoin
Daredevil’s second season aims to answer what it means to be a hero, both literally and figuratively.
I didn’t know what to expect of Daredevil’s sophomore season for a couple reasons. Firstly, the showrunner of the first season left and was replaced by two new guys, and secondly because the show was now going to focus on two other Marvel anti-heroes, Punisher and Elektra.
Luckily, they kept mostly everything that was great about the first season, and fixed mant of the problems. They also keep the show squarely focused on Daredevil himself, while Punisher and Elektra turn out to be two of the most interesting supporting characters ever to be seen on TV.
https://www.youtube.com/watch?v=m5_A0Wx0jU4
What I loved about Daredevil’s first season was its focus on character development, which lent one the ability to appreciate both the protagonist and antagonist’s points of view. As Ben Urich put it, “There are no heroes. No villains. Just people with different agendas.”
This quote has never been more accurate than in the second season, as one of the focuses of the season is Daredevil’s ideological clash with the Punisher. Despite both being on the “good” side, Punisher believes that killing the bad guys is the only way to take care of criminals permanently. Daredevil on the other hand believes people’s lives should be put in the hands of the justice system, and that killing is wrong, whether someone deserves it or not. Elektra serves to make this conflict of justice and morality even more complicated than it already is.
Jon Bernthal’s performance as the Punisher was something I was eagerly anticipating, since the last three actors to portray Punisher in the movies have been quite mediocre. Luckily, Bernthal absolutely blew me away. The fourth episode cements his contribution with what is possibly the best scene of the entire show in which he delivers a tear-jerking monologue that serves as the emotional core of the entire season.
Elodie Yung delivers an even better performance as the sexy but scary Elektra. Her character is completely sociopathic, but always finds a way into seducing Daredevil and convincing him to do what she wants. Elektra is so unhinged that it is impossible to take your eyes off her, as you’re always wondering what she’ll do next. This is a pretty big departure from the strong but silent Elektra from the comics, but is instrumental to making the show so enjoyable. The returning cast members from the first season are also great, and all serve important roles.
This season also tops off the first one in terms of violence and action, which does make the fights slightly less realistic, but more visceral and exciting. The shocking amount of gore can get cringe-worthy at times, but it’s a very nice change from the more kid-friendly movies of the Marvel Cinematic Universe.
The pacing problems are fixed now too, with there being more interesting subplots, and more interesting supporting characters. There is also much more of The Hand, an evil organization of ninjas that are a huge part of the Daredevil comic books, and serves to complicate Daredevil’s life even more. The show is like a revolving door of great dialogue, badass action, and surprising twists.
One choice that I think prevented the season from reaching its full potential was the lack of an over-arching villain. I can name at least five antagonists in this season, but none of them were anywhere near as menacing or dangerous as the Kingpin from season one, or even Kilgrave from Jessica Jones. This made the season finale less epic than the first season’s, because even though the stakes were high, I was not interested in the bad guy Daredevil was fighting. This one complaint doesn’t matter too much though, as the entire season is still incredibly interesting and exciting.
While the first season left me satisfied, this season has made me eagerly anticipate the next season. I can’t wait to see the return of the Kingpin, and hopefully Bullseye.
In the same way that Game of Thrones is a masterclass in adapting books to screen, Daredevil is a masterclass in how to adapt comics to screen. If you’re a fan of good TV, then you will definitely love Daredevil.
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By: Hess Sahlollbey
Over the past week, the upcoming slate of adaptations based on DC Comics properties has been turbulent, to say the least.
For instance, Sandman, based on Neil Gaiman’s comic-book series lost Joseph Gordon-Levitt, one of the driving forces behind it, further curtailing the project. On the opposite end of the spectrum is Preacher, which is slated to debut this May with Seth Rogen as an executive producer and starring Dominic Cooper.
Hidden in all of this news was the fact that Scalped, also from DC, has been picked up for a pilot by WGN. While it’s not certain that it’ll become a series, I couldn’t help but revisit the comic-book series in anticipation.
Written by Jason Aaron and illustrated by R. M. Guéra, Scalped is a crime comic book series published by Vertigo Comics. Originally published in 2007, the series ended after 60 issues in 2012. Along the way, guest artists jumped on to elevate the ongoing quality of the series. Scalped has been collected into ten trade paperbacks and is also currently being collected as five deluxe hardcovers. So far, three of these books have been released with numbers four and five planned for April and August respectively.
The series, while fictional, is set in the present and is inspired by elements of Native American history. Specifically, story elements are derived from the American Indian movement and the Red Power movement of the 1970’s. Set in South Dakota, Scalped focuses on the Oglala Lakota inhabitants of the fictional Prairie Rose Indian Reservation. Our main protagonist, Dashiell “Dash” Bad Horse ran away from the “Rez” 15 years ago in search of something better. Now he’s returned home to find that nothing much has changed save for a new casino and a once-proud people overcome by drugs and organized crime. While his motivation for returning to the reservation is unknown at first, he soon finds himself working for Chief Lincoln Red Crow as a member of the Tribal Police. Unfortunately for Dash, neither his mother nor his old friends are happy to see him return. Little does anyone know that Dash’s real reason for returning is that he is actually an undercover FBI agent, tasked with taking down the corrupted officials.
With a premise as unique as that, it’s easy to see why a television network would want to adapt the comic. This is a series that wasn’t afraid to explore some pretty dark themes. Some of those explored themes include rampant poverty, organized crime, drug addiction and alcoholism, local politics and the preservation of their cultural identity. This series was never afraid to shine a light on a neglected part of society that is rarely depicted in the mass media.
Adding a neo-western setting, the series breaks certain cultural molds and could easily be seen as a contemporary western à la Breaking Bad due to its overall aesthetic. Much like western films, the idea of progress always hangs on the horizon. In the case of Scalped however, it’s the delicate lack of progress and stagnation on the “Rez” that makes the characters so interesting. The characterization is thus the strongest force behind this story. It’s fascinating to see the evolution that these characters go through over the span of the story. All of the characters feel organic and their problems and turmoil’s are captivating and depressing. While Dash Bad Horse may have a dark and questionable moral compass, Scalped showed us just how far a hero can fall from grace and still have the reader rooting for them.
The level of realism in the series, combined with the depiction of Native American society easily makes Jason Aaron comparable to Honoré de Balzac. Adding to that, R.M. Guéra complements the series perfectly with his gritty, dirty art. While I didn’t enjoy it at first, it quickly grew on me as an acquired taste and was greatly elevated by the change of colorist from Lee Loughride to Giulia Brusco.
Casting for this series will be key, as Scalped will hopefully be a chance for Native American actors to get some prime time roles. Neither of Scalped’s creators are Indigenous and there has been some controversy in the past over how Indigenous people and their issues were depicted and treated over the course of the series. We can only aspire however that this project won’t turn out like Adam Sandler’s recent film The Ridiculous 6 where Native actors, actresses and a cultural advisor left the set in protest of the depiction of their culture. Here’s hoping that the TV adaptation will do this critically acclaimed comicbook series justice.
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Grease has never been a favourite of mine. I like about two of the songs; I’ve never watched the John Travolta movie all the way through in one sitting; the plot is hazy and the themes it supposedly tackles are simply not there. In fact, as expected of a story set in a high school, the messages it sends out about social and gender hierarchies are disturbing. Its strengths have always been in how upbeat the soundtrack and how lively the dancing is, making it fit perfectly in the stereotype mold for musical theatre, but at the end of the day, that had always been it.
https://www.youtube.com/watch?v=QdS_yNe02vg
Nonetheless, I admit to being swept up in the hype that preceded FOX’s Grease: Live.
With a big Broadway name like Aaron Tveit starring as Danny Zuko and countless behind-the-scenes videos taking Grease enthusiasts through the rigorous process behind the production, I was hopeful and excited. By the time news was released that Hamilton director Tommy Kail was on board, I was more than ready for Jan. 31.
Unfortunately, all the things that FOX seemed to take pride in with their take on a televised musical — the celebrity-studded cast, the songs specifically composed for this adaptation, the interaction with the live audience, the set design split across the Warner Bros. Studios — are also the same things that ultimately ruined Grease: Live for me.
That said, the cast was good, but it did not impress more than it could have. While I’d loved Tveit since his Catch Me If You Can days, my appreciation for him as Danny Zuko was half-hearted. His singing did not disappoint, and certainly sparked an eagerness to see him back on the Broadway stage, but standing in the shadow of Travolta’s Zuko and with co-star Julianne Hough overtaking him every choreographed step of the way, his dancing fell a little flat. The opposite holds true for Hough, who despite being one of the best I’ve seen dancing as Sandy Young, gave a half-hearted performance during “Hopelessly Devoted To You.” Her cheerleading tryout scene opposite Heathers’ Elle McLemore as Patty Simcox, however, was by itself enough to establish her as the real star of the show for me, even if her singing was not quite as impressive as her dancing.
Vanessa Hudgens’ performance as Rizzo was incredible in its own right, especially with the passing of her father just the night before the show; the cast dedicated the production of the show to him. Alongside her as the other Pink Ladies are Keke Palmer as Marty and Carly Rae Jepsen as Frenchy, who both delivered where they needed to. Jessie J, Joe Jonas and Boyz II Men all cameo to perform various songs, and with household faces like Mario Lopez in the cast, there was no shortage of applause from the audience when it came to close—up shots, no dancing nor singing needed.
The production went where NBC’s live musicals have not gone before. There is a dazzling charm in the blending of theatre and television that FOX attempted to accomplish with Grease: Live, and it’s certainly different, if nothing else. It was big, it was flashy, the theatricality was impressive, it brought in ratings — and for a FOX production, that probably means they’d checked everything off their list. I am embarrassed to admit I expected more, possibly too much, for if they were willing to try new things, so much so that they would have a new song composed, wouldn’t this mean moving away from the soullessness of the original Grease? To my chagrin, apparently not.
The result of FOX’s attempt at a televised musical is a production that felt like one of Glee’s Super Bowl special episodes which I happen to appreciate more than despise, because it usually meant story and character progress (finally) and a lot of show-stopping songs. With the weaknesses remaining where they always were, and the strengths the same as they always were, my opinion of Grease stands.
Photo Credit: Kevin Estrada/ FOX
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By: Hess Sahlollbey
Mired in controversy from the moment it was first announced, including a petition from “One Million Moms” to have the series removed from television, Lucifer is finally here. And while it’s not the first crime procedural to feature the occult, it’s definitely the most stylish thanks in large part to its title character.
Fox’s new series Lucifer is based off Mike Carey’s comic-book series, Lucifer. The Lucifer comic, a spinoff of Neil Gaiman’s depiction of the devil in The Sandman, was published under DC Comics’ Vertigo imprint. Much like Netflix’s Jessica Jones, Lucifer is inspired by the source material and isn’t a direct adaptation à la Walking Dead.
What if the devil got tired of reigning over all of hell and damnation and decided to take a vacation? That’s the basic premise of the show as we get to see how things unfold for him. Lucifer Morningstar (Tom Ellis) decides to relocate to the City of Angels and open his own piano bar called Lux. However everything changes for Lucifer when a friend from his past gets gunned down in his arms outside of his night club. He then teams up with Detective Chloe Dancer (Lauren German) to solve crimes and bring criminals to justice by using his supernatural powers.
If this all seems ridiculous, it’s because it is.
They managed to pull it all off by perfectly casting Welsh actor Tom Ellis in the title role. The writing of this character, combined with Ellis’ devilishly charming performance is what makes this series so great. Viewers begin to sympathize with the devil as his character slowly evolves and faces an existential crisis. He just oozes swagger and charisma and right away we learn that the big skill that’s helped him become such a success in our realm: he’s able to make people confess their darkest desires. This adds a fun motif to the show as people blurt out what they want or are thinking to him.
Lucifer is also a very stylish show. The direction is awesome and so is the soundtrack selection and set design. The opening shot of Lucifer in his convertible was perfectly set to Cage the Elephant’s devil-themed “Ain’t no Rest for the Wicked.” Combined with scenes of Lucifer in his bar drinking and playing the piano, the whole presentation really gives the viewer a good sense of who Lucifer is. It’s also very effective at setting the series’ mischievous tone.
However, as bold as Fox was to raise a little hell and have a series with Satan as the main character, I’m disappointed that they stuck to the case-of-the-week crime procedural format. The first case Lucifer solves is enjoyable, but the mystery was still paper-thin.
While it’s fun to see Lucifer use his supernatural powers to get what he wants, the secondary characters are shallow. Detective Chloe Dancer is still your typical no-nonsense tightwad who’s been paired up with a more eccentric character. Chloe may have a fun and unconventional back story, but I fear that her relationship with Lucifer may be played too safely as the series continues. Also bogging down the series is Archangel Amenadiel (D.B. Woodside) who occasionally pops up trying to convince Lucifer to go back to hell. His performance is stiff and a real detriment to the narrative. I can’t help but wonder if the show would have been better by simply having Lucifer gallivant in L.A. without all of the police work.
Taking into consideration the ongoing success of DC’s other comic-book shows, it’s safe to assume that they’re going to continue adapting more comics to TV. Lucifer proves that there is room for not just one more comic book—based show, but for an occult mystery show that is accessible to viewers. However the success of this show boils down to whether or not Ellis’ Lucifer can bring some light to the tired crime procedural genre and be a hit.
Photo Credit: John Fleenor/ FOX
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On Saturday nights, you can typically find my roommate/best friend and I studying at home. This past Saturday was no different. But as we diligently worked away and dutifully sipped our coffee, a blip presented itself in our routine.
She sent me a link to a four-minute video from this season’s The Bachelor.
I hit the play button even though I knew it was a bad idea. I knew that, if I pressed that play button, I would effectively be rendering my hard-earned productivity that evening useless. Needless to say, what ensued after that four-minute video was two hours of catching up on the episodes we had missed thus far, notes strewn haphazardly across our desks. By the time we emerged from the rabbit hole, it was two in the morning.
Let’s talk a little bit about season 20 of The Bachelor. Ben Higgins, a software salesman, is the star of the show. Ben Higgins is also a very handsome man. Now, I am not a “Bachelor” aficionado, by any means. The extent of my knowledge comes from a couple of episodes during high school sleepovers and the occasional perusing of magazine articles at Shoppers Drug Mart. But Ben Higgins has a quality about him that immediately captivated my roommate and I (plus millions of other women, no doubt). Besides his pretty face, Ben has a seemingly genuine desire for love that many people hope for in their significant others. He is also well-spoken, endearing and hopelessly charming. He just seems like an all-around good guy. Of course, reality television never portrays actual reality. But Ben Higgins has a cool, relaxed vibe makes him feel very real. This is precisely why he sells.
Besides a certifiably great choice in the candidate for The Bachelor this season, the makers of the show should also be commended for the measures they took to ensure that, even at season 20, The Bachelor remained far from stale. In the batch of seriously gorgeous women this season, there are your typical drama instigators and soft-spoken crowd favourites. But there are also a few very crazy ones and even a set of identical twins, Emily and Haley Ferguson. It’s interesting that, while every other woman has an occupation listed under their name, Emily and Haley only have the word “Twin.” (Incredible, I know.)In addition, during the first meeting with Ben, one of the women (a dentist) decided to give the bachelor a teeth cleaning in order to prepare him for a potential kiss. Unsurprisingly, he did not kiss her. On the first one-on-one date, the pair were accompanied by Kevin Hart and Ice Cube on a “Ride Along.” Reportedly, these first two episodes pretty much set the tone for how the rest of the season will play out – very strange, but also very entertaining.
It’s easy to sit here and debate over the subjectivity of what is good television and what is bad television. However, it is widely agreed that The Bachelor is not a good television show by its own merit. No matter how attractive Ben Higgins is or how entertaining the story line becomes, I know this. My best friend knows this. Society knows this. Good television series exist far and wide, but The Bachelor is not one of them.
I am certainly more predisposed to watch shows like Transparent over The Bachelor. Often, fundamentally good television shows (such as Transparent) or movies explore deeper themes and require more attention or emotional investment. While those are always fantastic to watch and gush over, it may not be a bad idea to revisit an old childhood movie (She’s The Man, anyone?) or a “trash” TV show when you’re just seeking a much-needed break from the daily stresses of school and life. It’s important to spend time being entertained over something as silly as a dating show; while it may not be a “good show,” it’s worthwhile simply in its ability to help you let loose. Spending time to be mindlessly entertained every now and again – or spending time for yourself at all – is something society has engrained within us as wasteful and inefficient. But it’s really important to not feel guilty about taking a breather; it is both a rejuvenating and regenerative activity that may benefit you in the long run.
My best friend and I met at the beginning of first year and have been inseparable ever since. Both of us are in the same program and have a pretty aligned set of values and interests. In fact, many people who meet us fall into disbelief when they realize we only met a year and a half ago and have not known each other since childhood. She is endlessly caring, kind, assiduous, intelligent… I could go on forever. I trust her to the world’s end; there are few things I wouldn’t do for her.
Lately, however, we have both been so busy that we rarely see each other despite living in the same apartment. Maintaining a healthy balance of school, extracurricular activities, work and friends is a massive challenge that many of us are tasked with. When other areas flare up, particularly school, it’s easy to let others sit on the back burner for a little while. Recognizing this, both my best friend and I have decided to make some changes in our respective schedules to fit in a time each week, no matter how brief, where we spend time unwinding together. Now, we have a date every week to watch the new episode of The Bachelor.
The Bachelor has certainly made me see that watching what is widely regarded as a bad show doesn’t diminish my personality or my other interests in good shows. It debunked my fear that watching it automatically places me in the categorwy of “people with poor taste.” It’s really not that serious. Sometimes bad TV simply makes for a really good time with your best friend.
Header Photo Credit: Star Pulse, in-article: Felicia Graham
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By: Kaiwen Song
Television programs, with their widespread reach and exposure, can have many beneficial impacts on individuals and society. TV not only provides entertainment, but can also help generate societal acceptance of minority groups such as the LGBTQ community through positive representation. Looking back we can see the impact that TV shows featuring LGBTQ characters, such as Will & Grace and Glee had on the increasing acceptance of queer people in North America. These shows had a snowball effect, with many others beginning to feature LGBTQ characters. Indeed, 2015 saw a plethora of attempts at positive representation. Unfortunately, they often left much to be desired. Here are three major ways in which we could improve LGBTQ representation on television in 2016.
First, give LGBTQ characters enough screen time to fully develop. Creating a character that only says a few inconsequential words every episode — or worse, flashes by on screen for mere seconds — is not enough to leave a lasting impression. One example is Captain David Singh in The Flash. While the show is theoretically highly inclusive, Singh, the gay police captain is only featured in 16 of the 23 total episodes with a total screen time of less than two minutes. Similarly, Teen Wolf featured the token gay lacrosse player Danny for less than five minutes throughout its first three seasons before the character disappeared altogether with no explanation. These token LGBTQ characters are extremely disappointing. How can an audience enjoy or relate to a character they don’t get the chance to know?
Secondly, ensure that your attempts at positive representation don’t end up doing more harm than good. Quantico, one of the most anticipated shows of 2015, had commercials that highlighted the inclusion of a major gay character named Simon — the show held extra promise as it was created by Joshua Safran, who is openly gay. This promise was shattered almost immediately when it was revealed that Simon was only pretending to be gay, meaning that TV was robbed of some potentially fantastic queer representation. Safran didn’t stop there; the other minor gay character on Quantico was depicted as cowardly, running away from a bomb while others stayed behind to defuse it, later committing suicide at the prospect of facing imprisonment after being caught for a crime. Both actions perpetuated the negative stereotype of the cowardly or incapable gay man. Needless to say, LGBTQ characters do not, and should not, have to be perfect human beings, however, with so few representations of queer characters on TV, we must take care that the few rare portrayals of LGBTQ characters on TV don’t buy into pre-existing negative stereotypes.
Thirdly, do not be afraid to show LGBTQ characters engaged in romantic and sexual relationships. Modern Family, a comedy series with several LGBTQ writer-producers, is a success on many fronts: it features a gay couple in major roles and allows them to be both good and bad, nuanced just like the rest of the characters. However, Modern Family has long been criticized for glossing over displays of physical intimacy between its gay character. According to the American Sociological Review’s 2014 study, although people may support civil rights for the LGBTQ community, many are still be uncomfortable seeing same-sex public displays of affection. Thus, it is important for TV shows such as Modern Family to play a role in normalizing same-sex physical intimacy. Seeing characters at their most affectionate and intimate is an important part of seeing them as human.
2015 saw a plethora of attempts at positive representation. Unfortunately, they often left much to be desired.
Fulfilling all three criteria, all the while maintaining critical and commercial success, is not impossible: take a look at How To Get Away With Murder. The show features a lead bisexual character and a major gay character, each with individual strengths and weaknesses, who are part of romantic relationships that are depicted with as much explicitness as their straight counterparts. By taking the time and effort to portray members of the LGBTQ community in a meaningful way, TV shows can be elevated from being simply entertaining to being influential and important. Writers and producers — straight and LGBTQ alike — take note!
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By: Sasha Dhesi
On Nov. 6, Netflix quietly released its newest original series to join the ranks of its predecessors: Aziz Ansari’s and Alan Yang’s Master of None. The show follows the life of a struggling 30-year-old actor living in New York City named Dev Shah, played by Ansari himself. The show explores a variety of topics, ranging from family and relationships to the appropriateness of Eric Cartman impressions on first dates. The show also stars other well-known comedians such as Noël Wells of Saturday Night Live fame and Eric Wareheim, one half of the eccentric comedy troupe, Tim and Eric.
The entire show is shot in the anamorphic format, making it feel like an indie film as opposed to comedy. Altogether, the show manages to be funny while keeping the viewer enthralled by its subtle character growth and beautiful imagery, a rare gem in television.
Ansari shines throughout the entire season: his portrayal of Dev comes naturally and it’s difficult to believe that he really isn’t a struggling actor stuck doing Go-Gurt commercials as opposed to the author/comedian/actor trifecta that he’s known for. This can be said for most of his co-stars: Wells exudes the ‘cool girl next door’ persona her character Rachel has, and Wareheim brings a certain quirky charm that flows nicely with the show. The only real sore point in terms of acting would be the casting of Dev’s parents, whose awkward presence on screen breaks the show’s sense of realism, but considering that the actors are Ansari’s actual parents, I’ll let it slide.
Master of None’s sense of humour is something that television has sorely missed since the days of Seinfeld. It’s dry focus on the minutiae of life and the callousness of the characters make the show much more relatable than most of the sitcoms out today. The plot itself, though, is undeniably choppy. Each episode is its own self-contained storyline, and things are solved without the audience seeing. The show jumps from problem to problem and lacks a cohesive feel throughout, even when binge watched while eating chips, as I did last weekend.
Master of None is wildly successful in creating a diverse cast without ever feeling forced. The cast accurately reflects New York City’s multicultural population and makes an almost pointed statement to other well-known sitcoms about a bunch of friends in New York City. This also allows for the show to explore new topics like the generational gap between immigrants and their westernized children, an episode bound to hit home for anyone whose parents have a similar backstory. The show also casually touches on the effects of racism, and even dedicates an episode to discuss Asian-Americans in the television industry and the rampant use of brownface that still occurs today. The show manages to make episodes with serious tones like these, but also has episodes on first dates and the etiquette of texting. These ten episodes tackle a broad range of topics.
Overall, Master of None is a well-done show that many people will relate to, and many more will find hilarious. The show’s cast of heavy-hitters makes it a delight to watch, and its mix of serious to light topics means it has something for everyone. So if you have about five hours to spare any time soon, I would recommend checking out Master of None.
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By: Hess Sahlollbey
One of the most highly controversial TV shows this fall, Supergirl finally aired and blew me away. From the moment the six minute preview appeared online, fans of the character were quick to write the show off as being too clichéd.
Having now seen the first three episodes, I’m better equipped to judge the show than I was after seeing the preview.
In Supergirl, Superman’s cousin Kara Zor-El (Melissa Benoist) is a fish out of water. Having grown up on Krypton, Kara has come to earth as a teenager to escape Krypton’s destruction. While she might not have been born on earth, she’s more than ready to prove that she can get by just fine without help from her famous cousin, the Man of Steel. That being said, the show did feel a little too much like a chick flick since it had all the usual tropes: A best friend who is not so secretly in love with her, a shitty job where she fetches lattes for a Devil Wears Prada type boss, and a handsome new co-worker who can make Kara instantly forget how to speak. The suspension of disbelief can get to be a bit much when Kara has a luxurious apartment despite being a columnist with apparently no job security. Kara also disguises herself in plain sight by wearing her hair in a ponytail and glasses just like Clark Kent does. Later, she rids herself of both and receives compliments from her crush.
In Supergirl, Kara has her heart set out for Jimmy Olsen. And while their flirting may be sweet, it again feels a little too formulaic. In defense of the show, this was a pilot and its purpose is to set the stage. I’m already looking forward to the development of their romance — it feels more natural than the usual unresolved sexual tension of a will-they-or-won’t-they that we see on most shows.
Another point that interested me was the discourse between Kara and her boss, media publisher Cat Grant, over whether or not Kara’s superhero alter ego should be known as “Supergirl” or as “Superwoman.” As Superman’s cousin, Kara finds it insulting, telling Cat, “I’m a woman.” Cat, however, laughs in her face and says, “No, honey. You’re a girl. I’m a woman” as Cat attempts to take back “girl” as empowering.
Later there are subtle Superman cameos that don’t take the spotlight away from Kara. Anything from a blurry vision of him jumping in at the last minute to lend a helping hand to Kara, to the text message exchanges they have from time to time. While it would be nice to see the Last Son of Krypton, I can’t say that I miss him. Melissa Benoist is very likable as Kara all on her own.
If you’ve been craving more female centric superhero shows then rejoice in knowing that Supergirl is definitely worth a watch. What I like most about it is that the show has a lot of heart. Unlike 2013’s Man Of Steel, which had audiences divided on the cynical portrayal of Superman, Supergirl is a very family-friendly adaptation of the comics.
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By: Trisha Gregorio/ANDY Writer
On April 8, 1990, Twin Peaks aired its pilot. In 1997 the episode made it to TV Guide’s 100 Greatest Episodes of All Time, and by the early 2000s, the series has been consistently named one of the best television shows of all time. It wrapped up on June 10, 1991 with two seasons and a total of thirty episodes, followed by a movie called Twin Peaks: Fire Walk With Me in 1992.
Twin Peaks revolved around the murder of high school student Laura Palmer, whose death starts a chain sequence of events that becomes the catalyst for the show’s main storyline. As with many of director David Lynch’s works, the show does not adhere to norms of any particular genre. The show, all at once, contains supernatural factors and surrealist elements, underlined with both melodrama and humour. It achieved cult movie status over the years that followed its second season, and has become widely considered a television classic.
25 years later, co-creators David Lynch and Mark Frost are bringing the series back for a new season. The sequel has been in the works for a year now, but budget issues have stalled production. Originally slated for a 2016 release, Dazed recently revealed that the third season has been pushed back to a 2017 broadcast on Showtime.
Eighteen episodes have been confirmed, all shot digitally, and will continue to be directed by Lynch and co-written with Frost. The creators have stressed that the new season is not a remake — rather, it will directly follow and allude to the events of the first two seasons, chronologically set 25 years after where the last episode left off.
“The story continues,” clarifies Frost. “The seeds of where we go were planted where we’ve been.”
Long-time fans are apprehensive about the changes the time skip would add to the classic small town setting the series is known for. Even more so, there’s much debate about who from the original cast is coming back after 25 years, and who’s done with the show for good.
So who’s in and who’s out? Nothing’s set in stone quite yet, but last week, along with the announcement of the pushed back release, Dazed also published a basic run-down of who’s in talks to return.
Unfortunately, many supporting actors have passed away since the end of the show’s last run. Catherine E. Coulson passed away earlier this year, and will not be reprising her role as the fan favourite Log Lady. Similarly, Jack Nance, who played her lumberjack husband Pete Martell, passed away in 1996.
Michael Ontkean, who played Sheriff Harry S. Truman and has discreetly avoided the limelight since, also declined the offer to return.
The good news, however, is that many crucial main actors are back to reprise their roles. Kyle MachLachan and Sheryl Lee are back as central characters Dale Cooper and Laura Palmer, respectively. Ray Wise and Grace Zabriskie are also set for return as Leland and Sarah Palmer, and Peggy Lipton returns to the Diner as series staple Norma Jennings. Other returning actors are Lara Flynn Boyle as Laura’s best friend, Sherilyn Fenn and Richard Beymer as the Hornes, Kimmy Robertson as secretary Lucy Moran, and Michael Horse as deputy Tommy “Hawk” Hill.
Additionally, aside from the series’ creators taking complete control of the follow-up season, composer Angelo Badalamenti is also set for return. A long time collaborator of Lynch, Badalementi is responsible for the signature Twin Peaks theme song, and will no doubt spin something new into the unsettling synth score the series is known for.
With roughly two years between today and the tentative release date, all that’s left to do is to wait. To fill the gap, creator Mark Frost revealed that a book called The Secret Lives of Twin Peaks will be published before the new season’s release, meant to cover the entirety of the time skip.
It might be set 25 years later and the storyline might be facing some contemporary changes, but the majority of the main cast and crew is looking to be the same quirky bunch that made Twink Peaks the television classic that it is.
Photo Credit: David Lynch
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